Each month, it seems, the Fly Movement Salon at Café Istanbul has become a showcase with a purpose. Previous showcases of circus-arts works in progress — always free and open to the public — have included opportunities to support related efforts. There was the solicitation for donations to help the folks behind “Vaude D’Gras” get their Mardi Gras-timed show off the ground inside Happyland Theater, and then came the push to help Clay Mazing’s Emergency Circus continue its work entertaining Syrian refugees in Europe.

And while this month’s show, on Tuesday (March 1) at 8 p.m., will showcase the works of salon students, the hat will be passed around to support Salon founder/producer, instructor and performer Liza Rose and her impressive springtime trip. Rose, who instructs at LA Motion in the Irish Channel and at the International School of Louisiana’s (ISL) West Bank campus, will compete in the U.S. Aerial Championships on May 13-15 at the Rose Nagelberg Theatre in the Baruch Performing Arts Center in New York City. (See the Facebook event page.) Rose is one of six finalists in the inaugural New and Innovative Apparatus division, where she will compete with her aerial umbrella, which she designed and created in 2009, with an act titled “Parapluie.” (Other categories are lyra, pole and silks.) Rose is among 42 finalists overall from a pool of more than 400 applicants.

“I created this act for the 2010 Seattle Erotic Art Festival for Roger Bennington’s show ‘Cabinet of Curiosities,’ which also starred burlesque star Dirty Martini and Dan Savage, the sex advice columnist of ‘Savage Love’ fame,” Rose said. “I was then invited to perform it (and did perform it) in the Moisture Festival, which is the largest vaudeville and variety Festival in the world. I have also performed this act in “Mezzo Lunatico,” the late-night show at Teatro Zin Zanni in Seattle, and here in New Orleans in the first “Storyville Rising” at One Eyed Jacks in 2013.”

At stake is a $1,000 grant and an audition for “Le Reve,” a Cirque du Soleil show in Las Vegas. There also will be casting directors from several American and Canadian circuses, including Circus Flora from St. Louis and Cirque Eloise in Montreal.

“I am hoping that my involvement in the competition will help draw national attention the New Orleans circus scene, and help establish it as a place for serious artists to create circus,” said Rose, who co-produces the all-female Cirque Copine troupe with LadyBEAST.

Rose’s exploits are further evidence of New Orleans’ growing circus-arts scene, the foundation of which often can be found in the classroom. Rose has been an instructor with ISL’s circus-arts program, which was founded several years ago by Meret Ryhiner in a collaboration with KIDsmART. Ryhiner, a native of Bern, Switzerland, is a longtime veteran of the circus world who was trained in Europe and has performed a variety of circus acts.

Under her tutelage, ISL students at all grade levels have the opportunity to learn everything from balancing and clowning to acrobatics, juggling and theater. Ryhiner has become such a strong influence that she will help Rose train for the aerial championships. The ISL circus-arts program has gained so much respect that it’s starting to get national attention, recently becoming a recognized Social Circus Program of the American Circus Educators Association. This means, among other things, that it can expand its offerings through the obtainment of more grant money.

“Some of the many things we look for is that the organization or program serves a specific identified “at-risk” population (as opposed to the more common instance of offering general financial aid or community outreach),” said Amy Cohen, executive Director of the American Youth Circus Organization, which oversees social circus programs. “They also must show a dedication to measuring the outcomes of their program to reveal the impact that circus has on the populations they share it with. Measuring outcomes is especially important, as there is a lot of anecdotal evidence about how and why social circus works, but only a select group has been actively measuring the outcomes, something that is worth celebrating and supporting.

“Measured outcomes will serve the entirety of the social circus sector and beyond — those who are currently recognized, and those who are in the process of working towards recognition, as well as recreational programs that aspire to develop their programs to serve specific populations via social circus.”

Zoe Brookes, the lead consultant who worked on the project and recognized the first batch of programs, was impressed with ISL: “We recognize programs that identify a specific population with a specific need, and design circus-related curriculum to help meet that need. We also look for programs with a commitment to evaluating results. The circus program at ISL meets all those criteria.”

Indeed, the ISL program focuses on both diversity and community at a school where more than half the students are on free and reduced lunch programs. According to the school, it follows the National Arts Standards for dance and features circus arts skills. There’s more here:

Emphasis in K-1st grade is on practicing executive skills. Emphasis in 2nd and 3rd grade is on exploring core subjects with circus arts integrated curriculum units. Emphasis in 4th-8th grade on building the skills necessary to use the circus arts medium expressively and creatively, as well as to participate in community events performing and presenting workshops as circus arts ambassadors.

Ryhiner, the ISL’s circus-arts program coordinator, appreciates how as a part-time instructor Rose has been able to duplicate the school’s work at its West Bank location in just a year and a half on the job — all while excelling as an artist herself.

“Circus arts are extremely demanding, athletically. You have to perfect and maintain a high level of skills and mental acuity, and artistically, you have to be inventive with your apparatus, the composition of your act and your signature tricks,” Ryhiner said. “I am happy Liza has made New Orleans her home and brings this caliber of professionalism to the City, and to our community as a teaching artist for the circus arts program at the International School of Louisiana.”

“It’s not burlesque,” Ryhiner said. “It’s circus arts and it’s a wonderful artistic discipline, and New Orleans should have that as part of its palette of colors.”

Tuesday’s Fly Movement Salon’s student showcase will feature the new works by students Becca Chapman, Stephen Kernion, Dallas Alexander, Sean Maloney, Virginia Sibley, Laughing Sky Diamond and Cassie Palmer. Along with Liza Rose, Penelope Little, a fellow Cirque Copine troupe member, also serves as an instructor at the salon.

Now he wants to go back, and he needs a little help from his friends. His “Emergency Circus Strikes Back” fundraiser on Saturday night (Feb. 13) at the Castillo Blanco Art Studios on St. Claude Avenue (home of the Intergalactic Krewe of Chewbacchus) seeks to raise funds for a springtime return to Europe where he hopes to bring a troupe of fellow performers to continue their work. That work began with a partnership through Clowns Without Borders, and the work never ends.

On Saturday night, the fun begins at 8 p.m. with an art-crawl led by Afro-Brazilian troupe BateBunda starting at Antenna Gallery (3718 St. Claude Ave.) and will pass through the traditional second-Saturday art crawl, down the boulevard and to the Castille Blanco for a big dance party, art auction, and circus show featuring local and touring circus artists (including those from Cirque Copine and the recent “Vaude D’Gras” show at Happyland Theater.

What was the most rewarding aspect of the first trip that has inspired you to come back for a second tour of duty, so to speak?

Well, honestly when I first arrived I didn’t know how my clowning would be received by these people going through such unimaginable hardships. I mean, these people were fleeing war, walking for miles, spending their life’s savings, and losing loved ones. I didn’t know how they would feel about a foolish American clown showing up to make funny faces and play music. But as soon as I did the first show, as soon as I made that first smile, I realized how imperatively important this work was not only for the refugee children but for their parents, the other aid workers, my own soul, and for all my friends, family, and strangers back home who needed to know the hearts of these struggling humble folks.

What if any feedback did you get from relief or aid workers about your work? Did you have much interaction with “official”-type people who were dealing with this crisis?

The aid workers were always pleased to see us. It’s very hard on them to work with this constant surge of refugees who are mostly only there for a day or two while the aid workers have been dealing with death and hardship for months. It’s a magical feeling when you can get Syrian refugees, UNICEF workers from Norway, and Greek border police all laughing at the same pray fall. It proves we are all connected at the deepest level.

Let’s talk about your needs with the fundraiser. What kind of budget are you looking at for this trip? What are the cost breakdowns, if you can do so generally? What’s the plan and how much will it cost to go back again?

Our plan is to bring three circus performers along the entire refugee road from the Syrian border with Turkey to refugee camps in the Netherlands. We will be documenting the journey because I think it’s important for people to know what compels these refugees to make this journey, to hear their stories, and to realize how close we all are. Of course it costs a lot to do such an epic journey. Luckily I was offered a gig as a keynote speaker for a conference in Denmark on “play in difficult situations,” so they’ll be paying for my ticket but I’ll still need at least $5,000 for travel, room and board to bring three circus performers the whole way.

I know we won’t be able to raise all the money needed with this one fundraiser but I think part of the importance of this project is to raise awareness, especially after hearing some of the xenophobic rhetoric recently spread by some of our political leaders. I experienced first-hand how kind, sweet, funny and loving these excellent souls are, and I want to share that. I want to show the ways in which we are the same. I want to show that we all laugh in the same language. That’s why I’ll be sharing stories, videos, and pictures from my experiences between acts at the show.

What’s the name of the conference and which three other performers are joining you? And what’s the time frame of the trip?

The trip will go from April 13 until May 25. We’ll be joined by New Orleans performer Moniek de Lieu, who went on the trip last fall and has spent a lot of time here in New Orleans. We’ll bring other European-based artists as well and link up with local musicians and clowns in each area we visit. We’ve got great connections in Athens, Germany, and many places along the way. I’m really excited to be working with such amazing talent for this extravaganza. We’ve got BateBunda marching through second Saturday’s art galleries, with jugglers and circus artists reveling the whole way. The show includes some of the most famous artists currently pushing the envelope of bringing a new consciousness of love to American society, like “Americas Got Talent’s” Special Head; Joey Cook, the New Orleanian who just killed it on “American Idol”; and Matthew Silver, the incredibly viral Internet wild man — not to mention local favorites Nick Williams (Guglielmo), Chatty the Mime, Sam Aquatic, and of course Clay Mazing.

While last year’s theme had a kind of post-apocalyptic vibe, this year’s show was sort of pre-apocalyptic — the notion being that vaudeville was being threatened by increasingly modern forms of entertainment (movies, TV, the Internet), and it’s up to the troupe to up its game to keep the customers coming on in. On this chilly Sunday night, the disheveled Happyland Theater, once a home for vaudeville and then movies in Bywater, seemed an apt setting. Almost the entire interior was a study in patchwork coverage, from the flooring to the side walls to the shutters that lined the back wall of the unused balcony. Artisans pushed trinkets, including vintage hats, and most of the modest-size audience showed up in period attire. With no heat available, it indeed felt like the lights were about to go out on vaudeville, but for the efforts of this rag-tag troupe. (If only the one woman sitting near me, with her vintage coat and floral headdress, could have gotten more into the spirit of the proceedings and not texted on her phone half the time.)

Guglielmo, as he’s done in the past, proves a genial emcee, growling and barking his lines. He and Clay Mazing make for a fun comedic duo, especially in the introduction, with Clay Mazing constantly winking at the audience using period references (“Can I bum a fag”?) to underscore how times, and language, have changed.

They’re in constant survival mode with the “show,” especially troubled by the diva/star GoGoMcGregor, who is restless with vaudeville and wants to gain her fame on the silver screen. She spends much of the show serving as the cynical counterpoint to LadyBEAST, who as aerialist and escape artist seeks to preserve all that’s good about vaudeville.

Much as it was with Cirque Copine’s “In Wonderland” at One Eyed Jacks, it’s when LadyBEAST and Sarah Stardust take flight that “Vaude D’Gras” does the same; their aerial performances, together and separately, turn the shabby Happyland into a little palace of magic. While it’s perhaps best to leave the details vague, LadyBEAST’s escape trick at the show’s end is also a moment to behold, if for no other reason the degree of difficulty.

Similarly, the troupe’s greatest strength is when everyone’s onstage creating mayhem; while some individual performances are good but not often great, their collective energy, spirt and humor thrives in ensemble delivery. GoGo McGregor especially excels in these moments; though she’s one of the city’s most popular burlesque performers, and delivered a solid fan dance here, she’s an even better comic talent and wise-cracker, getting her bitch on with every single member of the cast. (Watching them break character with her one-liners is a particular thrill.)

Guglielmo is similarly versatile, whether he’s emceeing or singing arias or performing familiar sideshow stunts such as getting a tattoo on his ass and then a nipple pierced. This was a highlight of last year’s show. (Afterward, he combined the two by performing the Neopolitan classic “O sole mio” before morphing into Elvis and transitioning it seamlessly into “It’s Now or Never.”) The capper was a double busting of a cinder block on his stomach along with GoGo McGregor (with LadyBEAST and Clay Mazing doing the honors.)

Clay Mazing possesses a similar charm, even when not every one of his whip-cracking tricks hits the mark. My only real wish was to have seen a little more of the knife-throwing antics of Madame Daggers, who spent most of her time playing violin with the excellent Vaude D’Gras Band (led by Sarah Jacques, who also performs in the Cirque Copine band.)

“Vaude D’Gras” could use a little tightening of the performances, but it remains a glorious celebration of both the circus-arts talent in the city and the chemistry and spirit of an ensemble that plays well together and off one another. Monday night is the last chance to see them before, like Carnival itself, it vanishes for another year.

“We were all going to be here, anyway. These are people I just know and love. We figured we’d throw it all together,” says Noah Mickens, who as William Blatty helps run Wanderlust Circus out of Portland, Oregon. He’s speaking on his cell phone from an Uptown café, arriving in New Orleans on a trip that originally was supposed to simply be a Mardi Gras vacation.

But once he realized who else might be taking advantage of the Carnival season, and what New Orleans circus and sideshow performers were around and available, Mickens thought, why not just turn the weekend into another kind of Carnival?

And so we have a handful of circus and sideshow performances this weekend, highlighted by the four-day “Vaude D’Gras” from New Orleans circus artist-producer LadyBEAST and many of the gang from last year’s “Cirque du Gras” (Feb. 5-8) at Happyland Theater in Bywater.

So yes, it’s safe to say the circus has come to town, which makes sense given the way the varying circus and sideshow scenes intermingle from around the U.S.

“There’s a real national community of underground, independent circus,” said the 42-year-old Mickens.

He’s watched circus and sideshow grow from the kind of ground-level street-performer scene of the late 1980s where he got his start as a 13-year-old into a more performance-art style in the 1990s, and then a growing, vibrant scene that found a home in nightclubs for indie performers.

This was pretty edgy, punk-rock stuff, evidenced nationally by troupes such as the Bindlestiff Family Circus and locally by such troupes as the Know Nothing Family Zirkus Zideshow.

“All these aerial and circus schools started to pop up that made it accessible to learn how to do all this stuff,” he said. “I learned how to juggle from an old homeless man. To learn how to be an aerialist back then was your mother and father and your brother and your sister — you were in a circus. It was a secret knowledge you had to find from somebody.

“Then schools started popping up 2000 or 2003, then by 2010 it seemed like every city has an aerial school and has created an infusion of all this new talent of people who know how to do tricks and have skills of all kinds.”

Mickens is excited about performing again in New Orleans, and reconnecting with burlesque performer Charlotte Treuse, with whom he performed back in Portland with Cabaret Babylon.

“I’m not going to waste my time,” he said with a laugh. “Now I have three shows. I’m incapable if chilling out and just enjoying myself.”

For Tsarina Hellfire, the New Orleans performer, this represents a few different types of reunions both with the scene she left and returned to a few years ago as well as reuniting with Mickens.

“I just got back home to years ago; I took break from performing for about 10 years,” she said. “It would’ve been silly trying to get back into my visceral gore whore burlesque sideshow stuff, and have known Noah Mickens on and off since Convergence 2006. I’ve always been a big fan of and have known a lot of sideshow circus people around, and want to just have a big family get together. I’m getting my paws wet, getting back into doing events backstage managing and performing and trying my hand at producing.”

Cirque Copine, the all-female New Orleans circus troupe, debuted its “In Wonderland” show with two performances Friday (Jan. 29) at One Eyed Jacks. Both shows were packed, and earned standing ovations.

I’ll have a more expanded look at the show, but the first impression is that this is the kind of anchor show that can help further establish the budding circus-arts scene in New Orleans. Co-producer LadyBEAST will begin her monthly “LadyBEAST Cabaret” in the same space, but this was a chance for her and co-producer Liza to showcase the Cirque Copine performers on a grander scale than they did back in 2015.

The troupe features Liza Rose and Sarah Stardust performing all manner of aerials; LadyBEAST alternating between aerial and escape acts; Penelope Little alternating between aerials and clowning; and the comic and sideshow antics of mistress of ceremonies GoGo McGregor. Opus Zeo provided a stunning musical soundtrack to each performance.

Stay tuned for that expanded look; in the meantime, enjoy these photos.

According to historical reports, when the Orpheum Theater opened for New Orleans fans on Feb. 7, 1921, the focus was on vaudeville.

“Jewel and fur clad women and dapper gentlemen filled the Orpheum Theater, New Orleans’ newest and most fashionable theater where ‘good taste reigned everywhere,’” one report said. “This auspicious evening’s main attraction was The Singer Midgets, who were to enter Hollywood immortality nine years later as the Munchkins of ‘The Wizard of Oz.’

“A bit of incongruous perhaps with the ‘dressed-to-the-nines’ crowd, but this was the heyday of vaudeville and the Singer Midgets was a class act – and so was the Orpheum.”

Just under 85 years later, this is music to the ears of producer Trixie Minx and the Orpheum’s Kristin Shannon, who, over coffee inside the nearby Roosevelt Hotel, are giddy with excitement over the historic theater playing elegant host to “Cupid’s Cabaret,” a mix of variety acts that celebrates Valentine’s Day, Feb. 14. While Minx has made her mark as a burlesque performer and producer — she literally performed on both the East Coast and West Coast when not in New Orleans over the course of 2015 — she is emphatic about extolling her vaudeville influences.

And while she is quick to note the vaudeville influences in her monthly, decade-old “Fleur de Tease” show at One Eyed Jacks, she wants people to think of “Cupid’s Cabaret” as a nod to those more purely vaudeville instincts.

“We want this event to be more than a show but an experience of what it was like to be in the Orpheum back then,” Minx said. “An interactive vaudeville presentation on a Vegas-size level … with a modern take.”

I’ll have more on that take soon, but first I thought it would be fun to present a little “Throwback Thursday” of historic photos, courtesy of the Orpheum staff, to remember a time when it was the likes of the Singer Sisters and Al Jolson who ruled the stage and not the silver screen that came to dominate as the theater entered the middle of the 20th century.

(NOTE: A complete list of upcoming circus-related events can be found at the bottom of the post.)

For LadyBEAST, the goal is pretty simple.

“I want to hit the big top with circus” in New Orleans, she says. LadyBEAST, an escape artist, aerialist and fire performer, is with fellow performer and producer Liza Rose, talking over coffee at the Who Dat Café in Faubourg Marigny. “And I don’t mean Barnum and Bailey circus or Cirque du Soleil.” She pauses and then says with a little laugh, “I want to be a big weirdo for the rest of my life and create a platform that will sustain us.”

For the circus artists, trying to create a sustained scene can be a fun but daunting challenge. At first blush, New Orleans would seem like a logical mecca for variety performers, drawn to the port city’s bohemian and creative spirit. There have been moments in the past where the circus arts has drawn attention, especially in the late 1990s, but it’s never made a consistent mark.

The beginning of 2016 offers some tantalizing glimmers of hope, building on the success experienced in 2015. LadyBEAST has confirmed a regular monthly circus show at One Eyed Jacks that will feature many of the performers with whom she’s collaborated over her six years in New Orleans. And there’s no better way to kick that off than with the return of Cirque Copine, her collaboration with Liza Rose, and “In Wonderland” on Jan. 29 — which will hold down one of those monthly dates four times out of the year to give the all-female troupe a quarterly presence inside One Eyed Jacks.

And then, in the spirit of Mardi Gras, LadyBEAST returns with her other, Carnival-themed circus and sideshow project that has been re-branded as “Vaude D’Gras,” to run Feb. 5-8 (ending on Lundi Gras) at the old Happyland Theater in Bywater. (The first two productions were called “Cirque du Gras.”) Other events include two fun affairs on Thursday (Jan. 21) — “Cirque di Pasta,” a gathering at Arabella Casa di Pasta on St. Claude Avenue featuring most of the “Vaude D’Gras” cast; and “Circus Darling,” the debut show produced by Darling Darla James at the Hi-Ho Lounge and described as a “sexy circus cabaret bizarre.”

Add to that Liza Rose’s monthly “Fly Movement Salon” inside Café Istanbul, several training spots around town like La Motion — and the desire for a permanent performance venue — and the seeds are there to bring the big top closer to the foreground of New Orleans’ variety scene. It’s a scene that’s created increasingly attended audiences for everything from burlesque and drag to cabaret and comedy.

“We are a movement of people who want to make regular work that utilizes our skills as circus artists, but one that is an all-encompassing theater experience,” says LadyBEAST.

Liza Rose has no delusions of grandeur about the potential of growing such a scene. She says she’s at a point where doing it for the fun is just as important as doing it for a paycheck.

“I want to enjoy the process,” says Rose. “If you don’t enjoy the process you have to quit. Ed Sullivan is not calling. It’s not a thing. You have to actually enjoy the work that you do.

“We want to get to the point where work is fun.”

Based on the description of these upcoming shows, it would be difficult to imagine any of this being anything but fun. With Cirque Copine’s “In Wonderland” — which premiered in 2015 — the pair hopes to create a turn-of-the-century atmosphere, with versatile entertainer GoGo McGregor serving as a kind-of hostess and Penelope Little performs as a clown. LadyBEAST and Liza Rose each will perform, as will Sarah Stardust. The whole production will be performed to a live soundtrack created by the local band Opus Zeo.

The co-producers try to keep details to a minimum, hoping for a surprise factor, but do say there will be local artists out front selling trinkets.

To underscore what they describe as the old Belle Epoque era from Paris, the pair are encouraging guests for the Jan. 29 show to come dressed for the period, hoping for an absinthe fairy here, and a Mucha girl there.

These monthly and quarterly shows in the heart of the French Quarter, especially inside One Eyed Jacks — home of the monthly Fleur de Tease burlesque show — represent a kind of planting of the flag for circus artists. Being able to work in a space where much of the technical aspects — hell, even having someone handle selling the booze — takes a huge load off the shoulders of organizers too often burdened by the “Y” part of a “DIY” existence.

“Every other space,” LadyBEAST says, “I’ve had to direct it from nada.”

The two separate shows will be followed by a late-night dance party with a DJ.

LadyBEAST’s regular monthly show,“LadyBEAST’s Cabaret,” will have a more mid-20th century feel, with a steady rotation of local and some touring circus artists. Live music will be provided by the G-String Orchestra and other musicians, and vendors again will be selling their wares at the front.

“We’ll be inspired by the old ‘big top,’” she said. “For me this is about being able to have more opportunity to be a producer and the best boss I can be to those people.”

The four-night “Vaude D’Gras” show will have more of a mix of circus and sideshow performances inside the old Happy Land Theater. So while LadyBEAST, GoGo McGregor and Sarah Stardust will be on hand, so will Guglielmo, the opera-singing clown; his wife, the knife-throwing Madame Daggers; Clay Mazing, the whip-cracking clown; and music by the Vaude D’Gras Band with “maestro” Sarah Jacques (of both G-String Orchestra and Opus Zeo.

In keeping with the previous productions, there will be a distinct narrative feel for the show, this time featuring a meta-fictional “show within a show” scenario in which inner turmoil among the cast members will lead to shenanigans.

“Now I really feel that this is our part in Mardi Gras, our way to give to Mardi Gras, which is important if you a performer or artist in this town,” said LadyBEAST, who estimated last year’s attendance was as high as 700 over the four performances. “As for this year, it’s my longest-standing production, and it’s the thing I started in my head five years ago, and I want to keep having it evolve and having it become a bigger production.

“I see growth. I see evolution.”

INFLUX OF TALENT

That’s due in part to recruiting such game performers as Guglielmo, who moved to New Orleans in early 2012 after several visits from New York City, where he’d gained experience singing opera and emceeing circus and sideshow productions. When LadyBEAST offered him a slot in the inaugural “Cirque du Gras” in 2014, he jumped at the chance. (He and his wife, Madame Daggers, perform together and separately.)

“Anytime I’m asked to doing something ‘out of the box’ that I like, without question will give it a shot,” he said.“Risks are what I live for, and its been quite a ride! What I love about what we do is take a bunch of circus, vaudeville and sideshow and turn it into more of a theatrical experience.”

The growth of New Orleans’ circus scene overall has included a modest migration of talent in recent years, with performers sometimes put off by the larger scenes in which they’ve worked and intrigued by New Orleans’ free, creative and communal spirit. These aren’t just wandering souls, either; they come well trained. Sarah Stardust, who moved to New Orleans from New York City in January 2015, spent several years studying ballet and modern dance in Texas before switching to aerial performance and studying that and acrobatic dance at the New England Center for Circus Arts in Brattleboro, Vt., beginning in 2007.

She spent about two years in New York performing and teaching before deciding to move to New Orleans, partly because she’d tired of the “sexy cabaret style” and “joke acts” that were prevalent in New York but also because she enjoyed visiting her brother in New Orleans and decided to move “on a whim.” She currently teaches at Ashtanga Yoga Room and aerials at LA Motion along with Liza Rose.

Stardust, who performs with Cirque Copine and in “Vaude D’Gras,” loves the collaborative spirit in New Orleans, whether with Liza Rose and LadyBEAST or musicians such as those in Opus Zeo — with whom they collaborated in last year’s first “In Wonderland” performance.

“We sat down together and developed a storyline based on Liza’s concept,” Sarah Stardust recalled. “We found our characters and mostly our own choreography, but had each other for feedback, which is important! The best part for me though is that Opus Zeo met with each of us to talk about what we envisioned for music and what they made was such magic.

“It just made everything come to life!”

While she embraces that collaborative spirit, Stardust says, she wishes the New Orleans scene had more cohesiveness, at least in the aerial community, and perhaps more dedication. Part of that challenge is the lack of a common venue to serve as the kind of hub that scenes in New York or San Francisco enjoy.

“I would love for there to be more opportunities for everyone to work hard and train together,” she said. “I think that’s one thing that’s really holding us all back from being better!”

Clay Mazing, a whip-cracking clown most notable for his appearances in “Cirque du Gras,” has traveled around the country and (more recently) overseas with his Emergency Circus, performing for Syrian refugees. He moved to New Orleans seven years ago, and also notes a growing and increasingly vibrant scene here after watching the burlesque scene become so big. But he still feels New Orleans is in catch-up mode to scenes in the San Francisco Bay area and Portland, partly due to those cities because of the training and competition going on.

But he also notes the downside of developing a scene in the wrong direction.

“I see the potential, and hope to be able to shape the scene in a positive way,” said Clay Mazing, who will host a benefit, “Emergency Circus Strikes Back,” on Feb. 13 at Castillo Blanco Art Studios.

“I can see a surge of circus coming and I hope our scene can remain cooperative and add to the magical charm and culture of this excellent city,” he said. “I don’t want to see some homogenous scene pop up equal to the Bay Area or Portland here. I’d hope that our circus culture will remain unique, accepting and adding to the vibrancy and even the grit that makes New Orleans so exceptional and alive.”

Chatty the Mime, a popular clown who blurs the lines between circus and burlesque performances, sees a growing scene for the circus arts.

“When I started five years ago, there was only one show that was a full variety circus show,” she said.“The scene back then was mostly burlesque shows with one variety performer. Now there are probably around 8 different circus shows happening at a given time. 2015 was my busiest year performing.

“So I do have high hopes for 2016.”

She participated in holiday play recently, “A Christmas Carol” at the Bayou Playhouse, and was heartened when the director wanted circus performers to add a new dimenstion the show.

“It was great to see an audience who may not have ever experience something like that have so much fun,” she said.

VALUE AND COMMITMENT

Liza Rose, who along with balancing herself with her aerial work, also balances a professional mix of teaching aerial work to others at La Motion and to students in the Circus Arts program at the International School of Louisiana. This is life for a professional who’s worked on both the East and West coasts before settling down in New Orleans, where she’s performed with such varied settings as the New Orleans Fringe Festival and “Freaksheaux to Geaux.” She’s seen other scenes compromised by producers hiring lesser-trained performers at cheaper rates, and doesn’t want to see that happen in New Orleans.

She wants to see value and commitment placed in the New Orleans circus scene.

“Everybody keeps saying to me, ‘Liza, let me know when there’s something going on that I can be a part of,’” she said. “I need people who will come and help me make the scene.”

She has a strong collaborator in LadyBEAST, whose creativity and energy complements Liza Rose’s talents as a skilled performer and choreographer. As long as they keep moving forward, together, they’ll be satisfied.

I’ve looked at the New Orleans burlesque and circus scenes for 2015. This was capped off with a series of “best of” polls recognizing the work in several areas. The reasons for the polls were many. It seemed like a nice way to help put a cap on what became for me a year of covering a vital facet of New Orleans’ performance scene. It also seemed like a nice way to shine a spotlight on both the performers and productions throughout the year, both to provide exposure for the scene and to serve as an informal taking of the pulse on what fans were responding to.

The appearance, rollout, structure and even idea of the poll, however, made things more complicated than expected, and the rollout seemed to enjoy all the smoothness of the Obamacare website — a bit of excitement, a healthy dose of confusion, and some fairly heated discussion about its very existence. So there were basically two concurrent discussions — why do it, and why do it in the manner presented?

The first discussion was by far the most complicated, because for many in the scene it raised the possibility of turning what serious, artistic-minded people do into a popularity contest. (More than one performer told me privately it was like being back in high school again, with the prom queen title up for grabs. Some politely requested not to be listed in the polls.) This particular discussion inspired Bella Blue to blog about it with a post titled “Competition vs. Community.” In it, she set up the two notions as a false choice and argued that, in the real world — one that acknowledges that burlesque is also a business — competition can be just as beneficial as community. She went on to point out that burlesque can be about both the art and the commerce; that polls can be fun and motiving; that going for titles (or “crowns”) and striving to be the best doesn’t necessarily have to come at someone else’s expense.

(Indeed, when Bella Blue was voted the No. 16 burlesque performer by 21st Century Burlesque, and Trixie Minx didn’t make the poll, it didn’t seem to hurt her popularity or business or art at all.)

That’s all to say that, as Bella Blue noted, a discussion about polls in particular or competition in general is perhaps something that might have been needed for some time. On a personal level, I appreciate that ambivalence in spirit while firmly believing the overall benefit is invaluable. I’d add that New Orleans has not one but two awards for the music and theater scenes. When someone as legendary as former Meters bassist George Porter Jr. openly campaigns for votes on Faceook in Offbeat’s “Best of the Beat” awards poll, well, it helps put things in perspective.

As for the structure of the poll, there was discussion primarily about which performers and productions initially were placed on the poll, and where everything and everyone belonged — which led to some unnecessary confusion. If this had been conducted in my previous position, it would have benefited from a larger team in place and perhaps a longer build-up and promotion. But being a “one-man show,” so to speak, I went with my knowledge of the scene or scenes — admittedly a work in progress — in creating a core group of nominees for consideration and added names based on reader suggestions. I also took the advice of some producers and divided the circus and sideshow performers into separate polls.

So I moved forward with the polls, with two clearly stated guidelines: Readers were welcome to add their own candidates/nominees, and readers should refrain from voting multiple times for their favorites. Readers were very good, often passionate about the former, but not so much about the latter. So the votes had to be analyzed, and multiple voting was tossed.

But taking that into consideration, I decided to present the results in a more inclusive fashion, with winners broken down into a “Top 10” or “Top 5” list, and listed alphabetically — along with an occasional “honorable mention” to make note of some pretty tight voting in some categories. A first-time poll, and a rather unscientific one at that, didn’t need to focus too heavily on the very top vote-getters.

For me, ultimately, there were few surprises. The balloting, with some notably obvious exceptions, reflects what in my mind is out there: a lot of talented performers who have made their mark, and productions that are establishing a legacy. As for the future, I might offer some thoughts in another post, but for now, let’s enjoy this informal take on the best of New Orleans burlesque and circus arts.

The year 2015 in New Orleans burlesque, circus and sideshow entertainment might go down as one of the more memorable in a scene that might be approaching a turning point. As producers sought more ambitious shows and performers sought greater exposure, the scene felt by year’s end like it was on the edge of something bigger.

Roxie le Rouge continued to build on her reputation as the most consistent exporter of the form by taking variations of her Big Deal Burlesque across the Southeast while continuing to perform with Fleur de Tease. Her Big Deal shows enjoyed increased attendance to the point of sell-outs.

Rick Delaup’s two regular shows — Bustout Burlesque and the 2014-launched Bad Girls of Burlesque, at the House of Blues and its Parish room, respectively — continued to draw large crowds. (Stupid Dope tabbed Bad Girls as “the most dope show in town.”) He marked Bustout’s 10th anniversary in 2015, and his 7th annual New Orleans Burlesque Festival broke attendance records while crowning Miss Stormy Gayle as the Queen of Burlesque. It came after the Bustout Burlesque regular’s return to New Orleans after spending the past few years in Los Angeles.

Even Miss Exotic World, the competition held at the annual Burlesque Hall of Fame Weekend, featured New Orleans connections. Former New Orleans performer Perle Noire, who earlier in the year finished second in the 21st Century Burlesque poll, finished as first runner-up. (A former Bustout Burlesque regular and Queen of Burlesque winner, she also returned to New Orleans to perform at Bella Blue’s “Risq” show.) Dallas’ Ginger Valentine, a frequent guest performer with Bustout Burlesque and who’s recreated the famous “Evangeline the Oyster Girl” act, repeated her 2014 finish as second runner-up.

But there were some challenges. Bella Blue’s attempt to bring drag and burlesque together on Bourbon Street hit a snag when news of the dismissal of performer Ruby Rage (presumably over her weight) from the “Blue Book Cabaret” lineup at Lucky Pierre’s led to Bella Blue ending her relationship with the club. Lucky Pierre’s closed later in the year. “Blue Book Cabaret” wound up at Bourbon Pub and Parade and remains there. She was successful with another burlesque/drag mash-up with “CREAM!” at One Eyed Jacks over Southern Decadence, inspiring her to do a similar show, “Touché,” at the Joy Theater for this year’s Mardi Gras.

Her weekly “Risq” show was shelved at Harrah’s over the football season, though there remains a chance it will return in 2016. Also, she found a permanent home for her New Orleans School of Burlesque inside the Healing Center on St. Claude Avenue. And as popular as the New Orleans Burlesque Festival has become, one African-American performer, Chicago’s Jeez Loueez, expressed concern after her experience as emcee for the “Bad Girls of Burlesque” show at the House of Blues. In a YouTube video, she discussed everything from the traditional aspects of the festival to the use of such black-culture dance forms as twerking — and the lack of performers of color. (This was in keeping with related issues raised by New Orleans performers right before the festival.)

And by year’s end, some performers complained about a lack of work in town, which could either be a blip or an indication the scene might be hitting another peek.

Still, 2015 remained a year of major highlights. Other aspiring producers brought a flood of new and possible annual shows to the stages over the course of 2015. Blue Reine’s seasonal “The Roux: A Spicy Brown Burlesque Show” became so successful that she announced on Jan. 1 that it will become a festival in September. This underscores Reine’s reign as New Orleans’ main host for shows featuring performers of color. Another performer, May Hemmer, launched her first-ever New Year’s Eve party, “A Gatsby Affair.”

Kali von Wunderkammer brought two new festivals, the Southern Sideshow Hootenanny and Storyville Rising, to town, while the Rev. Ben Wisdom teamed up with Little Luna and Ginger Licious for the wildly popular Snake Oil Festival at the Howlin’ Wolf. (That festival will return in 2016.)

Von Wunderkammer and Remy Dee each produced Katrina-themed shows in August — Dee with her “Home: “A Burlesque Tribute to New Orleans” and Von Wunderkammer with “Broken Levees, Broken Hearts” on Katrina’s 10th anniversary, Aug. 29.

Both The Society of Sin (led by Xena Zeit-Geist) and Picolla Tushy presented a flurry of themed shows throughout 2015. The Society of Sin tapped into nerdlesque with narratively driven shows such as “Dr. Who-Ha,” and Picolla Tushy created such literary-minded shows as “Summer Lovin’.” (“Dr. Who-Ha” will enjoy an encore performance at this weekend’s Wizard World Comic Con, Jan. 8-10.)

As burlesque continued to establish its foothold in the scene, the circus arts enjoyed a stronger presence as well, most notably through the work of producers LadyBEAST and Liza Rose and their tapping into a wide variety of performers. They were notably featured in LadyBEAST’s Cirque du Gras 2 during Mardi Gras and Rose’s monthly Fly Movement Salon, an incubator of circus arts performers. The pair also formed the all-female troupe Cirque Copine, which presented the popular “In Wonderland” show in Bywater.

(Bella Blue wasn’t the only performer to go international, either. Circus performer Clay Mazing performed overseas for Syrian refugees, first with Clowns Without Borders and later with his own Emergency Circus. And Magic Mike, the Fleur de Tease regular, competed in the 2015 FISM World Championship of Magic, held July 6-11 in Rimin, Italy.)

LadyBEAST and Rose plan more larger-scale productions in 2016 as the circus-arts performers and producers stake out a larger claim of territory in the wide and often hard-to-define world of variety performances. Stay tuned for more from them.

So what else to look for in 2016? Bella Blue promised a big announcement at her “Touché” show on Jan. 28, so there’s that. Trixie Minx always has something up her sleeve, as does Roxie le Rouge. Rick Delaup’s New Orleans Burlesque Festival will probably continue to be the biggest show in town.

But what should happen for New Orleans’ burlesque and circus scenes in 2016? What would it take to get burlesque mentioned in the same breath as, say, the city’s venerable music and theater scenes? What defines a successful burlesque scene? Regular work for its performers, or at least enough to keep them in New Orleans, might be a nice place to start. Performers, while on social media, constantly question whether they can keep doing what’s fun when they’re faced with mounting bills. Only a handful of the city’s burlesque artists do it as a full-time concern, and a vast majority of them spend a lot of emotional capital on moral support for one another. Musicians face a similar challenge, but when you’re literally bearing your body along with your soul onstage, it seems somehow different.

I’ll save my thoughts on what might make for bigger and better burlesque and circus scenes for a future post — mostly, frankly, playing off what the producers and performers might like to see. But based on private and on-the-record interviews, it would be nice to see, among other things, a scene with producers and performers working more collaboratively, both outside and within. I was reminded of comments by J.D. Oxblood, co-creator of Burlesque Beat magazine and frequent New Orleans visitor: “What’s most exciting about the New Orleans scene is the crossover with the drag community and recent attempts to move into traditionally tourist-dominated spaces. But like many cities, New Orleans seems to be dominated by just a few producers — who may be amenable to out-of-town performers, but less welcoming to outsider producers.”

It would be interesting to see how the scene plays out in 2016, and whether it continues to grow or suddenly plateau, but one thing is certain — growing exposure of what’s happening in the city can only benefit its performers and producers. That said, here’s a look at the “best of” in these two scenes.

The year 2015 became a landmark year for New Orleans’ expansive burlesque and circus arts scene. Throughout the years, audiences were entertained by new productions from weekly shows all the way up to festivals and specialty productions. (We even saw not one but two Katrina-themed shows). As part of a look back at this banner year for a scene that promises to be discussed in the same breath as the city’s vibrant theater and comedy scenes.

I’ll take a more direct look in that year later in the week, building the coverage I wrapped up while at NOLA.com | The Times-Picayune. But first, here are some polls to consider in terms of your favorite performers and performances. One rule, and this will probably done on everyone’s word of honor: no ballot-stuffing. Please, one person, one vote, for each poll.

Let’s start with the biggest one: the performers, broken down by burlesque performers, circus and sideshow performers, and emcees. (Please note: The burlesque performers category was so obviously loaded down with talent, for this poll I wanted to A) Focus about the top 30 in my mind, and then let the readers add in any they feel are missing, and then B) Present a “finalist” poll later in the week. The other performers are in small enough categories to remain as is. That said, the burlesque performers category:

Next up, we’d like to look at the “specialty” shows in 2015 — shows that also happened once in the year (more or less) but at this point might be considered unique to 2015 (until further notice at least). Some have enjoyed encore/return performances, but the general idea is, they were special to this year:

Monthly burlesque and circus shows have proved to be extremely well attended throughout the year, and help keep interest alive in the scene on a regular basis. (If only they wouldn’t suffer from so much over-lapping bookings, but more on that later.) Here are the favorites:

So let the voting begin, and again, please, one vote per person. The results will be released at the beginning of the year (which is, like, really soon). And please feel free to share with your friends on social media with the hashtag #bestnolaburlesque.